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Tips for New comers


willjam39

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Personally, I think that the best abbreviation for technicians is "tech". "Tech!e" feels so condescending (and a bit infantilising to be honest).

 

I think "lampy", "spark", "noise boy", etc is dependant on context. If I'm speaking to another tech, I'll happily describe myself as a lampy or spark; anybody else, such as a director or client, "lighting tech(nician)" or "electrician" - but I often say that I'm part of the lighting team rather than specifically saying that I'm a lighting tech.

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- The only stupid question is the one you didn’t ask. If you don’t know, ask. If you’re not sure, ask. If something seems not right, ask.

- To be early is to be on time, to be on time is to be late, and to be late is inexcusable.

- if the stage manager asks you to do something, it’s not a starting point for negotiation. They’ll have an excellent reason for it and probably no time to explain that reason to you. Just do what they ask (this often applies more to cast than crew, but is still important). Sub in chief LX, head mechanist, whichever HOD is appropriate.

- Safety first, always. If someone asks you to do something and you don’t think it’s safe, say so, regardless of who it is that’s asked you to do whatever it is.

- Never, ever, ever touch a prop unless you’re specifically instructed to do so. I had an episode where I was ASMing an opera and props was my responsibility. We had a props table in a corridor backstage and I came out there at interval one night to find a brass player from the orchestra swinging a prop sword around. I yelled at him and he had the temerity to tell me I should have said “please” when I told him not to touch the props. I did not apologise or say please.

- Unless you have a death wish, don’t ever use sewing scissors to cut anything except fabric. Wardrobe will hunt you down and stab you to death with their ruined scissors if you do!

- if you’re labeling gel with its number as you cut it, for goodness’ sake write it in big numbers across the middle of the piece. Don’t write it small and neat in one corner, because it won’t be readable from the ground and if the piece has to be replaced, that’s an extra trip up the ladder or going to find the LX plan to find out what colour it is.

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- if you're labeling gel with its number as you cut it, for goodness' sake write it in big numbers across the middle of the piece. Don't write it small and neat in one corner, because it won't be readable from the ground and if the piece has to be replaced, that's an extra trip up the ladder or going to find the LX plan to find out what colour it is.

 

That's an interesting one. I only have limited experience of pro theatres but small and in the corner seems to be standard.

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I agree with just about all of the hints offered so far, and add a few others...

 

I don't think you specify exactly what job you're starting out in, whether you're looking to 'freelance' or be employed, and whether or not you're looking to accumulate any of your own equipment, so this may be or may not be entirely relevant...

 

1. Promise less, deliver more: Never promise (or even lead a boss/client/director etc to expect) something which you're not 100% sure you can manage. If you promise the earth and deliver anything less, you'll be left looking daft. If you promise what you know you can achieve, and then do it well, you will gain a reputation as someone who can deliver. If you manage to pull off something extra or better, even just slightly better, then you'll gain a reputation for exceeding expectations. But never put the basics at risk while trying to pull off the fancy extras.

 

2. Remember that the laws of physics haven't changed recently. Even though there is a lot of fancy technology around these days, in many cases, techniques which worked well 30 years ago (or more) can still be effective today. I've had (amateur) directors gasp in astonishment in recent years at the effects that can be achieved with a well focussed static gobo wash, because they've become so used to everything being based around moving lights and bold LED washes. As above, something simple done well is far better than something fancy done badly.

 

3. Others have mentioned fault finding - I'll say that's probably the single most important skill to have. Knowing the more likely failure points in a system will help too, although this comes with experience.

 

4. If you do have any of your own equipment, invest in the best quality cables and connectors. I can 100% guarantee that cheap ones will let you down at some point. Ideally learn (if you don't know already) how to make up your own cables, and do it well.

 

5. Know the limitations of equipment. Cheaper 'stuff' does have a place and can be very effective when used appropriately. But don't expect a cheap LED wash light to be capable of providing key facelight across a large area, no matter what the spec sheet says.

 

6. Never borrow someone else's tools without asking.

 

Hope this helps!

Edited by Biskit
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I used to do that with a chinagraph pencil in the middle of cinemoid, but stopped doing it with the film gels as I thought it might damage the gel with the extra heat.

 

We use a chinagraph and I've never seen it cause a problem on modern gel either. Even used a sharpie in a pinch, which doesn't seem to cause a problem either. I did see someone use a ballpoint pen to mark up the gel once , and that simply melted along the stress lines where he'd written.

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1. Promise less, deliver more: Never promise (or even lead a boss/client/director etc to expect) something which you're not 100% sure you can manage. If you promise the earth and deliver anything less, you'll be left looking daft. If you promise what you know you can achieve, and then do it well, you will gain a reputation as someone who can deliver. If you manage to pull off something extra or better, even just slightly better, then you'll gain a reputation for exceeding expectations. But never put the basics at risk while trying to pull off the fancy extras.

Addenum....

wink.gif

Edited by IRW
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I'd second all GridGirl's - especially re props.

 

I'd add

 

Nothing, equipment or cue, in any production can be considered OK until it has been tested and proved in rehearsal. If it doesn't work 10 times out of ten forget it.

 

Wing bolts have a nasty habit of coming loose on the first lanterns as you work along rigging a bar.

 

A tidy job is always a better job

 

Don't keep it in your head - write it down!

 

Excellent lighting can still be done with 24 lanterns and a two preset manual board.

 

Buy the best tools you can afford keep them in a locked tool box and when you leave the premises take them with you.

Always but always double check your calls

Learn how to read a score - even if it's only a piano one

Edited by Junior8
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Wing bolts have a nasty habit of coming loose on the first lanterns as you work along rigging a bar.

 

Really? unsure.gif

I’d second this. Either you have no or incorrect washers on your bolts; or your wingnuts are on bolts that are too short; and should be rectified right away.

Thankfully I’ve never heard of this before; so I’d say this piece of “advice” probably isn’t something for OP to lose sleep over :)

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